Friends and relations: photographs - Tina Barney - Google Livres
Tina Barney, “Beverly, Jill and Polly” (), chromogenic color print, 48 x feature your brother, sister, sons, and other relatives and friends. Friends and Relations: Photographs by Tina Barney [Tina Barney] on Amazon. com. *FREE* shipping on qualifying offers. Includes selections from the. Tina Barney was born in to a wealthy family in New York City. include: Friends and Relations: Photographs byTina Barney (Smithsonian ), Tina.
We keep that sense of something being in the wrong place at the wrong time. It was so scary to come out with those pictures about the upper class. If you look at the reviews at the time, the critics only focused on their own fascination with the upper class. They never talked about the actual pictures.
I think they were just saying this was the first time anyone had revealed the upper class, and then they went on to describe it, but they never talked about the things in the work that were really interesting to me. I wanted people to be able to see the cereal box, the kind of dress, the kind of curtain.
Those details fascinated people. I compare it to when audiences first saw that TV series Dallas, their being fascinated by a world they did not know. No, but I have been surrounded by art all my life.
Tina Barney: Speaking of Art (Lecture) | Kanopy
My mother was a terrific artist. The fact that my pictures are about families is kind of motherly. When you shoot your subjects inside, how close are you to them physically? I am close to these people. But then each year I got physically closer because I wanted the picture to feel more personal. I myself am very private. I keep my distance. Some of that has to do with fear—of letting somebody in and them knowing too much about me.
That part of intimacy is always hard. Was the recognition you received as an artist difficult for you? I never thought that my work was going to become well-known. It started happening slowly, without my realizing it. But when I did, it was terrifying. The trust is amazing. What are your thoughts on iPhone photography? That depends on your definition of gesture. Some of that is hereditary and handed down, and some is newly learned. You took a photograph of two generations of hands [The Hands, ] shot in front of a painting in an interior that is beautiful.
To me, you are the best at capturing what I would call a psychosocial expression of history and of experience and of class. And the history of a particular family. I feel as if most people are pretty much the same within a certain class, due to the schools they attend and the way they are raised. You are like the Margaret Mead of photography. He never takes out the garbage. Is ritual or tradition important to you? Oh god, yeah, especially the repetitions of birthday parties and christenings and weddings, and going out to buy a pumpkin or a Christmas tree.
Even if stuff is going badly, those are the things we do.
Friends and Relations
As an artist, what do you feed on? What do you consume for your own artistic life? I look at art all the time. I go to the museums and galleries every week. That really is like food for me.
And I go to the movies a lot. I photographed some nudes for a couple of years that I might go back to. The effect is an unexpectedly intimate access to her subjects.
In the course of a decade, Barney has brought her camera closer and closer to her subjects. Monographic publications on her work include: Theater of Manners ScaloTina Barney: The Europeans Steidl Nothing is arranged in her works, nothing is specifically illuminated or staged.
In her a series, she examined our notions of the ideal vacation and how it has shifted over time. She captured the The Sugar Maples Resort, an abandoned vacation getaway in the Catskill region of New York State that still shows vague evidence of the comforts once enjoyed by visitors.
The American dream of enjoying the countryside at an unassuming, peaceful resort seems to have crumbled, as families have revised their notions of luxury and perfection. Newbegin captured the overall ruin of the resort in her views of the once majestic but now corroding buildings as well as individual rooms. After years of neglect the formerly extravagant curtains, wallpaper, and bedding are soiled and out of style.
One of her most recent exhibitions, No Room Spaces: Behind the Scenes, at Galerie Open in Berlin explores the history of spaces. In her work rooms devoid of a human presence are endowed with meaning as the viewer is called upon to examine the space as it is captured in her photograph.